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Hernandez-Ramdwar shows how douglas are both appropriated as signifiers of social harmony in the politics of douglarisation and resisted in the construction of the discourses of African and Indian purity among more conservative and ortho- dox factions in the Caribbean.

Bhangras appropriation of Black sounds that are considered Kool in the West has not only given Asian youth a new, distinctive voice in the form of Asian dance music but has also led to the reinvention of Punjabi folk tradition in consonance with the lived realities of multicultural Britain.

This essay examines various aspects of sonic hybridisation in the diaspora space by British Asian music producers through tracing the history of Bhangras douglarisation, beginning in the 1990s with Apache Indians experiments with reggae.

It covers all forms of mixings that came in between, including active collaborations, rappings, remixings, samplings and so on that made Punjabi and Jamaican patois dialogue in the global popular cultural space.

The essay explores the possibilities of a douglas poetics for Bhangra by juxtaposing the celebration of sonic douglarisation in postmodern narratives of migrancy and hybridity against the stigmatisation of biological douglarisation in miscegenation theories and ancient Indian pollution taboos.

Jine Mera Dil Luteya Song P K Free Public Full

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Popular Music, 32, pp 241-257 doi:10.1017S02611430130001 1 1 Request Permissions: Click here Downloaded from, IP address: 203.110.246.22 on 03 Jul 2015.

Bhangra s appropriation of Black sounds that are considered Kool in the West has not only given Asian youth a new, distinctive voice in the form of Asian dance music but has also led to the reinvention of Punjabi folk tradition in consonance with the lived realities of multicultural Britain.

This essay examines various aspects of sonic hybridisation in the diaspora space by Britis h Asian music producers through tracing the history of Bhangra s douglarisation, beginning in the 1990s with Apache Indian s experiments with reggae.

The essay explores the possibilities of a douglas poetics for Bhangra by juxtaposing the celebration of sonic douglarisation in postmo- dern narratives of migrancy and hybridity against the stigmatisation of biological douglarisation in miscegenation theories and ancient Indian pollution taboos.

Introduction In view of the long history of racial segrega tion and tension between Indians and Africans within and outside Africa, sonic hybridisation in the diaspora space (Brah 1996 ) of Britain emerges from and is implicated in black cultural politics in multicultural Britain through the imbrication of the politics of class with that of race and ethnicity.

Bhangra, a new genre of music, 2 produced by second-generation British Asians through the hybridisation of Punjabi dhol 3 rhythms with the black ones of reggae, rap and hip hop has become the site for the production and contestation of blackness in a new phase of black cultural politics in which the complication of race by class and ethnicity requires a re-examination of the identity politics of multicul- tural nations and societies.

This essay frames Punjabi Africa n Caribbean crossings in Bhangra hybrids against miscegenation taboos that have regulated black brown relations for centuries, to explore the possibilities of a douglas poetics for Bhangra (Puri 2004 ).

Juxtaposing the valorisation of creolisation and douglarisation in the linguistic and cultural space against their stigmatisation in the social space, it argues that sonic crossings, which take place only in carnivale sque youth-cultural spaces where normal social relations are suspended, are underpinned by anxieties about racial mixing in everyday lived spaces reflected in the texts Punjabi lyrics.

Beginning by tracing the perception of blackness and of biological douglarisation in the Indian, particularly the Punjabi, imaginary and of sonic douglarisation in Popular Music (2013) Volume 322.

Cambridge University Press 2013, pp.

S0261143013000111 241.

Douglas, jotowa and douglarisation The privileging of sonic douglarisation in the diaspora space in contemporary hybridity narratives is predicated on the elision of the stigmatisation of biological douglarisation in the social space.

In contrast to ancient Indian texts like the Rigveda which are quite explicit in making negative allusions to blackness, 4 modern Indian literatures maintain a careful silence with respect to the African people known as hubshis in Hindi and other Indian languages.

In the absence of allusions to blackness in Indian literatures, the imagin- ing of blackness on the Indian subcontinent must, therefore, come refracted through imperial representations.

Kipling s portrayal of a Sikh trooper s self-ascription in his story A Sahib sW a r provides a fairly accurate picture of African Indian relations at the beginning of the 20th century.

The Sikh narrator, Umr Singh, strongly objects to being herded with these black Kaffirs as a Sikh a trooper of the State and to being appointed to the command (what a command for me) of certain woolly ones Hubshis whose touch and shadow are pollution (Kipling n.d.).

Similarly, the his- tory of Indian African relations in the Caribbean may similarly be recons tructed through the media-hyped hostility between the two West Indian Nobel Laureates, V.S.

Naipaul and Derek Walcott.

Although it is set in the US, Mira Nair s film Mississippi Masala ( 1991 ) addresses black brown racism by following South Asian migrants out of Africa through the relationship of a girl of Indian origin with an African-American male.

While Nair s film has been critiqued for its simplistic resol- ution of race issues, Nair is the first to have engaged with the miscegenation taboo that opened up subsequent explorations of the brown desire of the bla ck.

Yet, despite the mutual antipathy between Indian migrants and their African hosts and Indians and Africans in the Caribbean, the relations between the two com- munities appear to have been marked by a dialectic of desire.

Hernandez-Ramdwar breaks the silence with respect to interracial mixing by contending that Indians and Africans, despite having historically been kept apart as a matter of colonial divide and rule politics, nevertheless interacted with one another, producing African Indian mixed-race persons known as dougla (a corruption of the Hindi dogala ) (Hernandez-Ramdwar 1997 ).

She explains that dougla, a non-hereditary identity, is most often ascribed to individuals who are the offspring of one African and one Indian parent (Hernandez-Ramdwar 1997 ).

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